Intellectual Property

Singapore.
The keynote lecture this afternoon at ISEA 2008 is by Creative Commons co-founder Lawrence Lessig, speaking on the proper place of copyright. He begins in 1906, when John Philip Sousa went to Congress to rail against the recently invented record player. The new technology, he suggested, would undermine cultural participation (a kind of read-write participation) - record players were 'infernal machines' which would promote the development of a 'read-only' culture, driven by commercial agendas. (Sousa was taunted in response with the suggestion that copyright already prevented participation in a read-write culture, however - a suggestion he strongly rejected.)

Singapore.
My afternoon session at ISEA 2008 is on copyright and the Creative Commons in Asia. In the first place, this begins with the official launch of the Creative Commons licencing suite for Singaporean copyright law - the 47th such translation into a national legislative framework.

CC co-founder Lawrence Lessig is here to do the honours, and he outlines some of the basic tenets of the Creative Commons philosophy now: in particular, the need to allow for a suite of licences which could offer a more sophisticated model for licencing content beyond the 'all rights reserved' model of copyright itself. This model, of course, has been forcefully exported from the U.S. to the rest of the world - and CC offers a different approach: not a disrespect for copyright, but a different understanding of copyright licencing.

Brisbane.
The final session here at the CCi conference is billed as a copyright perspectives panel in the context of user-led content creation on Web 2.0. The panel begins with Oli Wilson from New Zealand indie band Knives at Noon and Otago University. Knives at Noon released its EP online under a Creative Commons 3.0 (BY-NC-SA) licence, free to share and remix for non-commercial purposes. The band was somewhat unhappy with the content of the EP itself, but wanted this creative material not to be wasted - they hoped that it would take on a life of its own by releasing it online as a ProTools source file (roughly following Linus Torvalds's logic in releasing the initial Linux kernel). Release in this format also allowed users to access the individual components of their tracks, not just the mixed end product - and it suited the band's creative philosophy.

Brisbane.
The post-lunch sessions on this last day of the CCi conference take a somewhat more legal angle. The keynote speaker here is Graham Vickery from the OECD, which has just published a set of high-level recommendations related to making public sector information more publicly accessible, as appropriate to the emerging participative Web environment. The OECD is interested in the economic framework for this new environment (for example, online games, music, publishing, film, video, advertising, and news distribution) in order to identify what aspects (of value chains, business models, etc.) are shared across these environments.

Brisbane.
We're back to paper sessions at the CCi conference now, and for a change I'm in the cultural science stream. The first speakers here are Chris Brennan-Horley from the University of Wollongong Susan Luckman from the University of South Australia and deals with mapping the creative industries in Darwin. This ties into wider creative industries and creative cities theory, and Chris's approach here has been to focus especially on mapping the micro-level through qualitative ethnographic approaches - this is necessary as much grassroots-level creative industries activity remains unaccounted for in standard quantitative surveys of creative industries performance. Chris operated especially through interviews with creative industries practitioners in the city, and he was interested especially in geographic information - what spaces in the city were of importance to such practitioners in relation to their creative work?

Brisbane.
The second plenary speaker here at the CCi conference is Richard Allan, a former UK member of parliament who is now working with Cisco Systems and is involved with the UK government Power of Information Task Force. Public sector information consists in part of information about people and places, about public services, and about public culture; traditionally it exists across a data, an analysis, and a presentation layer. The former two are increasingly open for access, the latter also for more flexible interaction. With the rise of the Web as a public information medium, the number of public information Websites has multiplied almost beyond control, and in the UK there is now a drive to consolidate government Websites from over 2500 to a more manageable number in the future. (Even the UK and Australian secret services now have their Websites.)

Continuing the streaming media theme from Wednesday: the latest issue of the journal Media International Australia has now been released - "Beyond Broadcasting", edited by Graham Meikle and Sherman Young. I've contributed an article and have received permission from the editors to re-publish it here. In the article, I try to take a fresh look at television in an increasingly Internet-driven media environment.

Traditionally, the Net's equivalents to television (mainly, streaming media) have been viewed through the lens of the older technology; to some extent, streaming media has tried to mimic television's feel and format - this is visible in the user interfaces of media players like Windows and Real, and even (though perhaps with some irony intended) in brand names such as YouTube, Current.tv, or Democracy TV, the original name for the podcast feedreader Miro. I would argue that this is a case of what we could call a paleomorphising process: the tendency to shape new media technologies in keeping with older technologies. (In much the same way, it's taken decades for the mobile phone to look and feel like a mobile media and communications device, rather than simply like a wireless handset.)

Yay - Sonic Synergies: Music, Identity, Technology and Community, a book collecting the best papers from the eponymous 2003 conference in Adelaide, is finally out (if apparently only in hardcover, for almost US$100)...

My chapter in the book deals at its core with the 2002 Webcasting wars in the United States - a protracted and complex conflict between the recording industry and various groupings of large, medium, and small Webcasters each pursuing their own agendas, which was not so much resolved as put on hold by the eventual intervention of a few members of Congress concerned about the deleterious effects of the 1998 Digital Millennium Copyright Act (DMCA). The DMCA had put in place new approaches for digital royalty arbitration which posed serious problems for the long-term viability of small Webcasters (a fact which was bemoaned only rather fulsomely by the leaders of that market), and the ensuing negotiations finally hit the wall in 2002, after much toing and froing.

Vancouver.
We're in the final keynote for AoIR 2007 already (I missed the morning session this Saturday as I was having breakfast with Henry Jenkins this morning) - the keynote speaker today is John Willinsky from the Public Knowledge Project. He begins by noting issues of civic participation and access to knowledge as a key question of today, and relates these especially also to academic publishing: 'you make all the content, they take all the wealth' also applies in this environment, and the moral economy of academic work must be carefully considered. Fan writing, fans going public with their work - something that Henry Jenkins talked about yesterday - also translates into important challenges for academics: we, too, should aim to make our work more public, and connect it to wider civic concerns. This goes well beyond questions of technologies of access and distribution - it requires a shift of thinking; we need to 'get in the game', to allude to the 'Let's Play' theme of this conference.

Boston.
We're now in the last plenary here at MiT5 - a summary session drawing together the many threads of research and practice explored at this conference. Suzanne de Castell is the first contributor to this panel, and she notes the increasing fluidity of previously more solid cultural forms. We have moved beyond text as our primary mode of representation in multiple ways, and have left behind the cultural logics of print; this is challenging especially for the educational environment. Remix, in particular, with its various aspects of plagiarism, reappropriation, adaptation, and inspiration, is a particularly important issue for education to address; we must move far beyond cut'n'paste in our embrace of remix approaches, and education is going to be instrumental in this context. We must also pay particular attention to what is being held on to, and what is being left behind - Suzanne notes that much of the input into what are seen as valuable remix projects is still highly gendered and canonical, ignoring a significant number of other sources. The concept of remix itself must be adjusted by looking at the remixing practices and approaches in cultures other than the male-dominated Anglo 'high' culture. Knowledge is always situated, always accountable to its communities, and always under ongoing construction.